Somali literature
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Somali poetry
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Nation of Bards
Due to the Somali people's passionate love for and facility with
The country teems with poets... every man has his recognized position in literature as accurately defined as though he had been reviewed in a century of magazines - the fine ear of this people causing them to take the greatest pleasure in harmonious sounds and poetic expressions ... Every chief in the country must have a panegyric to be sung by his clan, and the great patronize light literature by keeping a poet.[2]
According to Canadian novelist and scholar Margaret Laurence, who originally coined the term "Nation of Poets" to describe the Somali Peninsular, the Eidagale sub-section of the Garhajis clan were viewed as "the recognized experts in the composition of poetry" by their fellow Somali contemporaries:
Among the tribes, the Eidagalla are the recognized experts in the composition of poetry. One individual poet of the Eidagalla may be no better than a good poet of another tribe, but the Eidagalla appear to have more poets than any other tribe. "if you had a hundred Eidagalla men here," Hersi Jama once told me, "And asked which of them could sing his own gabei ninety-five would be able to sing. The others would still be learning."[3]
Structure
Somali poetry features obligatory alliteration, similar in some respects to the requirements of Germanic alliterative verse.[4] There is a crucial distinction between the different forms of Somali poetry. The forms differ by number of syllables in each verse of poem.[5]
Form[5] | Syllables[5] | Metre[5] |
---|---|---|
Halaanhal | 12 | Oldest metre |
Gabay | 14 to 16 | Classical metre |
Geeraar | 7 | Classical metre |
Jiifto | 7 | Classical metre |
Heello | 10 | |
Hees-xoolaad (livestock-song) | 4 to 5 | |
Hees-cayaareed (dance-song) | 6 to 11 | |
Hees-caanood (milk-shaking song) | 6 to 9 | |
Hees-mooye (grinding-song) | 6 | |
Hees-carruureed (children-song) | 8 |
Muhammad Abdullah Hassan
Observing that "some say he was 'peerless' and his 'noble lines' .. are commonly quoted throughout the Somali peninsula", Samatar concurs with J. Spencer Trimingham's judgement that "
One of Hassan's well-known poems is Gaala Leged ("Defeat of the Infidels"):
- English translation
- To begin with, I had neglected poetry and had let it dry up
- I had sent it west in the beginning of the spring rains.
- But let me set forth what prevented me from sleeping last night
- God's Blessing are more numerous than those growing trees.
- I will remind you of the victory he gave us
- Listen to me my council, for you are most dear to me
- If the unwashed left handed one had died yesterday,
- if I had cut his throat- may he taste hell in the grave itself
- And the wild animals had eaten him, he and his ilk would deserve this
- I would salute the hyena that would gorge itself on his flesh, as it's doing me a favor, it is dearer to me than any other animal of the wild.
- If could I would reward it every day
- That deformed one wasted a lot of my wealth
- since he kept committing wrongs again and again
- I knew all along that the hyena would devour him
- It was their insincere refusal to acknowledge the truth that put them down and destroyed them
- And made me attack their best man with a Dagger
- If they had not become ungrateful, I would have not become enraged with them
- I would have not lost my generosity and respect for them
- I would have not have withheld anything from them, if they desired peace
- But when they acted disdainfully, death marched straight at them
Elmi Boodhari
Elmi Boodhari differed from the poets of his generation in that he eschewed the popular theme of Tribal war and vengeance in Somali poetry, instead wholly focusing on love and composing all his poems for the woman he loved, Hodan Abdulle, which was seen as highly unconventional and scandalous at the time.
Author Mohamed Diiriye in his book Culture and Customs of Somalia, writes:
Among the poets of the past century, a poet who has gained the hearts of all Somalis in every district is Elmi Boodhari, many major poets such as Mohamed Abdallah Hassan and Abdi Gahayr, aroused resentment among some somalis, as they addressed diatribes against the members of a certain clan, or urged bloodletting; such poets are known as viper tongues, and the poems of such poets have been known to cause feuds and clan wars. But not so with Elmi Boodhari, his subject was romance and only that. While the poets of his day where addressing serious subjects such as war and feuds, Boodhari composed all of his poems for the lady of his affection Hodan, who was given in hand of marriage to a man much wealthier than him. Instead of getting literary kudos for his beautiful verse, Boodhari was made the object of public ridicule. Somali society had not been of course devoid of romance either in song or prose in any age, but to proclaim the object of ones love was frowned upon in the social mores of Somalis.[7]
A poem Elmi composed for Hodan:
She is altogether fair:
Her fine-shaped bones begin her excellence;
Magnificent of bearing, tall is she; A proud grace is her body's greatest splendor; Yet she is gentle, womanly, soft of skin. Her gums' dark gloss is like unto blackest ink; And a careless flickering of her slanted eyes Begets a light clear as the white spring moon. My heart leaps when I see her walking by, Infinite suppleness in her body's sway. I often fear that some malicious djinn
May envy her beauty, and wish to do her harm.
— From "Qaraami" (Passion), as presented by Margaret Laurence in A Tree for Poverty.[8]
Ali Bu'ul
Here is an extract from one of his famous geeraar's Guulside (Victory-Bearer):
O my horse Guulside!
If his goodness
And his nature I try to describe,
He is a pool that refills itself
And I cannot plumb his secret.
I fall short.
Tell me, people, am I at fault?
The slopes of Mount Almis
And the Haraw ravine,
The camps on Mount Gureys,
He passes them in one evening.
Is he the cloud that brings rain in the night?
From the drought-bound desert,
When people despair of their flocks.
He drives the camels home.
Is he a noble warrior raiding enemy camps?
Grazing his field at night,
His whinnying keeps wild animals at bay,
— Ali Bu'ul (Cali Bucul), Guulside (Victory-Bearer!)
this particular poem alliterates echoing the horse's name.[12] Another snippet from his other famous geeraar Amaan-Faras , In Praise of My Horse goes as follows:[10]
From the seaside of Bulahar
to the corner of the Almis mountain
and Harawe of the pools
Hargeisa of the Gob trees
My horse reaches all that in one afternoon
Is it not like a scuddling cloud?
From its pen
A huge roar is heard
Is it not like a lion leading a pride?
In the open plains
It makes the camels kneel down
Is it not like an exper camel-rustler?
Its mane and tail has white tufts on the top
Is it not as beautiful as a galool tree abloom?
— Ali Bu'ul (Cali Bucul), In Praise of My Horse
Function in society
As the
The veteran British
Form
The form of Somali verse is marked by hikaad (or
Modern poetry
Belwo
Belwo or Balwo was a form of Somali poetry that focused on love and developed in the 1920s and reached its pinnacle during the 1940s. Pioneered by Abdi Sinimo with earlier progenitors such as Elmi Boodhari influencing this new style.[16] Balwo in somali roughly translates to misfortune and these poems often but not always dealt with heartbreak or longing.
Abdi Sinimo had his truck break down in a desert stretch in Awdal on route to Djibouti these words came out of his mouth and birthed the new form [17]
Balwoy! Hoy balwoy |
Balwoy! O Balwoy |
—Abdi Sinimo[18] |
With some Belwos taking a more explicit tone, religious authorities would try to clamp down on Abdi and the new poetry that the youth were all composing. However, this failed and the style would soon move east from Borama to Hargeisa where Radio Hargeisa would give Belwo mass appeal amongst Somali youth and also incorporate critical new elements such as the oud and drum. Somali poets traditionally focused on the wit and spirit of a woman and this new shift to the physical was a paradigm change[19]
This Belwo is a testament to its physical orientation on beauty
Qudhdhaydu ma jaclayn inaan Ku qasbee |
Myself I did not want to make you (love me) |
—Modern Poetry and Songs of the Somali[20] |
Heellooy
Developed in Hargeisa and Mogadishu to be played on the radio stations Heellooy initially was a long series of short Balwo. These series were unrelated to one another then chained after their composition and performed with the oud and drums. Abdullahi Qarshe was the first to bring the oud to play alongside while reciting these poems and under him the Heellooy would transition to a series of related verses forming one long continuous song.[19] This modern pattern would go on to form the outburst of oud & poetry in a single flowing composition that would see some of the greatest Somali artists such as Cumar Dhuule, Mohamed Mooge, Ahmed Naaji, Mohamed Sulayman Tubeec enhance this genre in subsequent decades.
Maay Poetry
Abubakr Goitow
The poem The law then was not this law was performed by the leading Laashins of Afgooye, Hiraabey, Muuse Cusmaan and Abukar Cali Goitow alongside a few others, addressed to the current leader of Afgooye Sultan Subuge in 1989. It evoked the rich history of the
Here the richest selection of the poem performed by Goitow
Ganaane gubow gaala guuriow Gooble maahinoo Geelidle ma goynin |
You who burnt Ganaane and chased away the infidels |
—Abubakr Cali Goitow The law then was not this law [22] |
Folk literature
Somalis also have a rich oral tradition when it comes to ancient folktales, stories which were passed on from generation to generation. Many Somali folk tales of work and life are so old and ubiquitous their authorship is unknown. Tales such as Dhegdheer the cannibal woman were told to little children as a way to instill discipline in them since the dreaded Dhegdheer was said to pay a visit at night to all those who had been naughty. "Coldiid the wise warrior" is another popular Somali folktale with a positive message regarding a waranle (warrior) who avoids all forms of violence. For this abstinence, he is looked down upon by his peers. However, in the end, he manages to show that violence is no way to earn either respect or love. A Lion's tale is a popular children's book in the Somali diaspora wherein two Somali immigrant children struggle to adapt to life in a new environment. They find themselves surrounded by friends that strike them as greedy, only to magically return to Ancient Somalia where they live out all of the popular Somali folktales for themselves. A Lion's tale has also recently been developed into a school play.
Here a song a mother would sing to soothe her crying baby [24]
Hobeeya hobeeya |
Hey hey baby |
—Why Capricious Be?[25] |
Rain a critical part of pastoralist life was often subject to humour and many poetry revolved around roob or the rains.[26]
In this poem young women call for rain and tease elderly men for their baldness[27]
Eebow roone roobey |
O Almighty Allah |
—The Bald Headed Old Men[28] |
Old men would respond to the young girls with their own taunt[27]
Eebow roone roobey |
O Almighty Allah |
—The Indolent Women[28] |
This song bridesmaids sing to the husband and invoking praise for the newlywed couple[29]
Geesiyow! |
Brave man! |
—Take the Gift from Us[30] |
Modern literature
Somali scholars have for centuries produced many notable examples of
Of these modern writers,
Islamic literature
the celebrated religious and nationalist leader, also left a considerable amount of
This Qasida by
إذا ماشئت تيسير المراد فصل على رسولك خير هادى |
Whenever you wish to make easy your objective then give a prayer to your messenger [Muhammad] the best of Guides |
—Uways Al Barawi Hadiyat al-ʿAnam ila Qabr al-Nabi |
See also
Notes
- ^ Diriye, p. 75.
- ^ Burton, Footsteps, p. 91.
- ^ Laurence, Margaret (1970). A tree for poverty: Somali poetry and prose. McMaster University Library Press. p. 27.
- ISBN 978-1-349-31301-3, retrieved 2023-12-11
- ^ a b c d Ismaaciil Galaal, M., 1970. Stars, Seasons And Weather In Somali Pastoral Traditions. Looh Press, p.xix. Click
- ^ Said S. Samatar, Oral Poetry and Somali Nationalism: The Case of Sayyid Mahammad Abdille Hasan (Cambridge: University Press, 1982), p. 187.
- ISBN 9780313313332.
- ^ Pieh, Rachel. "Death by Heartbreak : EthnoTraveler Magazine". Ethnotraveler.com. Retrieved 2021-11-19.
- ^ Aspetti dell'espressione artistica in Somalia: scrittura e letteratura, strumenti musicali, ornamenti della persona, intaglio del legno (in Italian). Università di Roma La Sapienza. 1987.
- ^ ISBN 978-0-313-31333-2.
- ^ Suugaan: Fasalka labaad (in Somali). Wasaaradda Waxbarashada iyo Barbaarinta. 1977.
Cali Bucul: Amaan Faras
- ISBN 978-90-272-8307-8.
- ^ Samatar, Oral Poetry, p. 56.
- ^ I. M. Lewis, A Modern History of the Somali (Oxford: James Currey, 2002), p. 251.
- ^ Samatar, Oral Poetry, p. 64.
- ISBN 978-1874209812.
- ISBN 9780810866041.
- ^ Historical Dictionary of Somalia, 2003
- ^ ISBN 978-1874209812.
- ISBN 978-1874209812.
- ^ "Report of the Nordic fact-finding mission to the Gedo region in Somalia" (PDF). July 1999.
- ^ JSTOR 586663.
- ^ "Maay - A language of Somalia". Ethnologue. Retrieved 7 May 2013.
- ISBN 9788897524120.
- ^ Folk Songs From Somalia,p.25
- ISBN 9788897524120.
- ^ ISBN 9788897524120.
- ^ a b Folk Songs From Somalia,p.73
- ISBN 9788897524120.
- ^ Folk Songs From Somalia,p.10
- ^ Little Mother
- ^ Cristina Ali-Farah biography
- ^ Brioni, Simone, The Somali Within: Language, Race and Belonging in 'Minor' Italian Literature , Cambridge, 2015.
- S2CID 162001423.
Bibliography
- Ahmed, Ali Jimale, Daybreak is Near - the Politics of Emancipation in Somalia: Literature, Clans, and the Nation State, Lawrenceville, 1996.
- Andrzejewski, Bogumił W., Somali Poetry, Oxford, 1969.
- Brioni, Simone, The Somali Within: Language, Race and Belonging in 'Minor' Italian Literature , Cambridge, 2015.
- Burton, Richard, First Footsteps in Somalia , London, 1854.
- Galaal, Muuse, I., Hikmad Soomaali, London, 1956.
- Kabjits, Georgij L., Waxaa la yidhi, Köln, 1996.
- Lawrence, Margaret, A Tree of Poverty: Somali Poetry and Prose, Nairobi, 1954.
External links
- Dirie, Shamsa, "Somali Legends"
- Historyradio.org: "Somalia: the literature of a nation in ruins" (interview with Ali Jimale Ahmed)
- Somali literature, web dossier compiled by the library of the African Studies Centre, March 2019